Escolar Documentos
Profissional Documentos
Cultura Documentos
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66
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technique of even the nIOre obscure local composers presumes constant contact with
European pacesetters.
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Af6nso VI's service. A note at folio 23 in the same choirbook identifies fray
Francisco de Quiros=Quiroz, a Dominican in Guatemala, as brother of the Guatemala
chapel.master who made his will in 1755, Manuel Jose de Quiroz.
The legends on the first folio of Choirbook I read as follows: Libro de
Missas, copiado de el que escrivi6 el P. Gaspar Fernandes el arrto de 1602. y aora
se le a~dieron otras seis Missas ~ pudo conseguir de la Europa, la solicitud
diligencia de Manuel Joseph de Quir6s, Mro de Capilla quien 10 con el debido
rendimiento que muy Ilustre, y Venerable S. y Cabildo de eata Santa
Ig Metropolitans. de Guatemala eate a'ffo de 176 A. M. D
Laudate eum in sono tUb~, laudate eum in [psalterio et cithara,] Laudate eum in
tympano, et choro, laudate eu in chor[dis et organo.] Laudate eum in cymbalis
bene sonatib.9 laudate eu in cymbalis iubilationis. Omnis spiritus laudet
Dominum. Psalm. 150.
Anton de Espar{a
Benedicamus Domino a 5. CB IIb 179v -180. Alto marked: Canon a fine vsque
ad principium. semibreuia tantu.
Anonymous
~. antiphons, 4 invitatories, 1 Tantum ergo in CB I.
9 hymns in CB IIa, 3 Benedicamus Domino and 1 Tantum ergo in CB IIb.
35 motets, 4 Benedicamus Domino, 3 Marian antiphons, 2 hymns, 2 invitatories, 2 sequences, 1 Litany, 1 psalm, 1 Requiem, 1 responsory in
CB III.
Bermudes, Pedro
Aurea luee.
Polyphony of this Peter and Paul hymn begins with second
strophe Janitor caeli, a 4. CB IIa 41V-43. Next comes Doctor egregie,
Paule, a 4, fom'th strophe of this same hymn, but unattributed.
Christus natus est nobis, a 4. eB I 18ov -181. Christmas Invitatory.
Christus natus est nobis, a 8. CB I 181v -182. Tiple 2 sings chant in
Pfundnoten.
Crudelis Herodes. Polyphony begins with second strophe, Ibant Ma,gi.
Epiphany hymn a 4. CB IIa lOv-13. 2nd pars, Nouum genus at llv-13 ~
,
tiples a 4 (two tiples, two altos). 3rd pars, Gloria tibi Domine
l3V-14, ascribed to Guerrero.
68
v
Crudelis Herodes, beginning lba.nt magi, a 5. CB IIa 8 -10.
v
Defensor alme, a 4. In die Sanet1 Jacobi. CB IIa 46 -50. 2nd pars a. 3
(Ti ATe), Tu bella nos. 3rd, Canon in subdiatessaron cum sex vocibus
(SSAATB), calls for a.n unwritten al.tus resol.ving Superius I at the
fourth below.
late Confessor Domini colentes. Polyphony of this Common of Confessors
hymn begins with second strophe, Q,ui pius prud.ens, a 5 (Ti A A Te B).
eB lIa 67v.68.
Iste Confessor. Alternate setting of second strophe, a 4. CB IIa 68v-72.
2nd:e!!! a 3, Unde nunc noster follows, then 3rd ;pars a 6 (SSAATB).
Jesu nostra Redemptio. Polyphony of this Ascension hymn begins with
Quaete vicit, a 4. CB IIa 1'fY-18.
Jesu,Redemptor omnium. Polyphony begins with second strophe, Tu lumen.
Christmastide hymn a 4. CB IIa 3v -4.
Lauds. mater ecclesia. Polyphony of the Mary Magdalene hymn begins with
second strophe, Maria soror Lazari, a 4. CB IIa 49v -50.
Lumen ad revelat:1.onem gentium'S; 4. CB I 188v -189.
Lumen ad revelationem gentium ~ 5. CB I 187V-l.88.
Miserere mei Deus, a 4. CB III 30v-34. Although anonymous at the first
opening, this. :psalm is identified as Bermudas I s in the index pasted
on the flyleaf.
Missa de Bomba, ~ 4. CB I ~52v-169. Parody of Mateo Flecha IS ensalada
La Bomba intabulated by Fuenllana (1554) and pUblished in partbooks
at Prague, 1581.
o gloriosa Domina, a 6. CB IIa 77v -79. Canon at lower fourth between
Superius I and Altus 1.
Pange lingua, Corpus Christi hymn a 4. CB IIa 29v-32. 2nd ;pars a 5
(Ti Ti A Te B), Nobis datus. 3rd ;pars de ti:ples a 4, 32 V -33, not
ascribed. 4th ;pars a 6 (Ti A A Teo Te B), Tantum ergo, 33 v -35, marked
"bermu.dez", canonic (tenor I and alto at the fifth).
Veni Creator spiritus, a 4. Third strophe, a 7 (Tu septiformis mooere),
copied CB IIa at 24v-25, includes a three-in-one canon. Top voice
answers the tenor at the octave, alto answers at the fifth. In margin
of alto: "tria aunt mooera :pretiosa. II Alternate setting of Tu septiformis for Ti Ti A Te follows at folios 25 v -26.
Vidi aquam, antiphon a 4. CB I 7v -9. During the polyphony, which starts
with Egredientem de templo, the tenor sings the chant in Pfoodnoten.
Ceballos, Rodrigo de
Magnificat Sexti toni a 4.
Even verses.
Tiple incipit:
Example 58
Mlssa a 4. de 3. 0 Tono. CB I 54v -71. Concords with Jacaltenango, pp.34-37.
Nissa Octavi Toni a 4. CB I l33v -152. Tiple incipit of this parody:
Example 59
Colin, Pie;rre
Nissa, a 4.
Example 60
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69
According to a kind reply from A. Hyatt King dated July 28, 1969, none
of the Masses in British Museum K.2.i.30 concords with the present Mass.
Fernandes, Gaspar
Benedicamus Domino a 4. Tone I. CB IIb 32v -33.
Benedicamus Domino a 4. Tone II. CB lib 46v -47.
Benedicamus Domino a 4. Tone III. CB lIb 72v -73.
Benedicamus Domino a 4. Tone IV. CB IIb 9lv-92.
Benedicamus Domino a 4. Tone V. CB IIb 112v - 1l3
Benedicamus Domino a 4. Tone VI. CB IIb 138v -139.
Benedicamus Domino a 4. Tone VII. CB lIb 158v -159.
Benedicamus Domino a 4. Tone VIII. Canon a fine ad principium usque
semel adque iterum semibreuia suisque pausas numera. CB lIb l78 v -l79.
Custodes hominum psallimus Angelos a 4. In festo angeli custodia. Polyphony begins with Namque quod corruerit. Scalewise rising melody in
opening imitative point paraphrases the plainchant (Liber usualis
[1966J, p. 1666).
Magnificat Quinti toni a 4. Odd verses. CB lIb 105 v -112.
Responsiones del verso despues del himno. a 4. Textless. Two on one
page. CB IIa 79 v Organ music.
Franco, Fernando = Hernando
Benedicamus Domino a 5.
starts thus:
CB lIb
Superius Primus
Example 61
Lumen ad reve1ationem gentium, a 5. CB I l86 v -187. Concords with
Jacaltenango, pp. l64-l65. Purification antiphon. Two tenors.
Guerrero, Francisco
Agnus redemit oves, a 4. Glosa in die Resurrectionis. CB I 190v -192.
2nd pars,. Die nobis a 5.
Christe redemptor, a 4. Festu omnium sanctorum. CB IIa 55 v -56. Polyphony begins with Beata quoque agmina.
Conditor alme siderum, a 4. CB IIa lV-3. Polyphony starts with Qui
condolens. 2nd pars, Laus honor virtus.
Deus tuorum militum. Common of One Martyr hymn a 4. CB IIa 62v-65. Only
the 2nd pars, Ob hoc precatu, is attributed to Guerrero. Polyphony
begins with Hie nempe mundi.
Exultet caelum laudibus. Apostles I hymn a 4. CB Ita 56 v -60. Polyphony
starts with Vos s~cli justi judices. 2nd pars a 3 (Ti A Te), Quorum
precepto. 3rd pars a 5 (SAATB), Deo Patri, canonic, with supranus
answering tenor at the octave.
Huius obtentu Deus alme nostris. Martyrs' hymn a 4. CB IIa 74 v -75.
Jesu corona Virginum. Common of Virgins hymn a 4. CB IIa 72 v -74. Polyphony begins with Qui pascis inter lilia followed by 2nd pars, Te
deprecamur.
Jesu, Redemptor omnium. Polyphony begins with second strophe, Tu lumen,
et splendor Patris. Christmastide hymn a 4. CB IIa 4V -8. 2nd pars,
Sic presens a 3; 3rd pars cum sex vocibus, Gloria tibi (tenor followed
by altus in canon at the fifth).
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Magnificat octavi toni a 4. Even verses. CB IIb 172V -178.
Magnificat primi toni a 4. Odd verses. CB IIb 14v -20.
Magnificat quarti toni a 4. Even verses. CB IIb 85 v -91.
Magnificat secundi toni a 4. Even verses. CB IIb 47V-53. Sicut erat
with canon in sUbdiatesaron.
Magnificat septimi toni a 4. Odd verses. CB lIb 153"1{-158.
Magnificat s exti toni a 4. Even verses. CB IIb 126"1{-132.
Magnificat tertii toni a 4. Odd verses. CB IIb 66v -72. Gloria in ~3.
o lux beata Trinitas. Hymn a 4. CB IIa 28v -29. Polyphony starts wit~
Te mane laudum carmine.
Q;uicumque Christum. quaeritis. Polyphony of this Transfiguration Hymn
begins with second strophe, I1lustre quiddam, a 4. Text = cento from
Prudentius's Cathemerinon, twelfth poem. CB Ua 35 v -36.
Sanctorum meri tis inclyta. Common of Many Martyrs hymn a 4. CB IIa'
65 v .. 67. Polyphony starts with Hi sunt quos retinens. 2nd pars =
Cedunt gladij s
Urbs JeX'usaJ.em beata. Dedication of a Church hymn a 4. CB Ha 75 v -77.
PoJ.yphony begins with Noua veniens.
VexilJ.a !'egis. Passiontide hymn a 4. CB Ha 14"1{-17. 2nd pars, Arbor
deeora, foX' Ti Ti A B (cantus firmus in Tiple 2), repeated in CB III
4~:..42.
3rd part' 0 crux aue spes r~eated in CB Ha 80v -81
(~mensuration a l6 v -17, C at 80v -81).
Madre de Dios, Felipe de la
SaJ.ve Regina a 3 vozes. eB III 26 v -27. Continuo accompaniment.
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Morales, Crist6bal de
Magnificat octavi toni a 4. Even verses. CB lIb 165"1{-172.
Magnificat octavi toni a 4. Odd verses. CB IIb 159v -175.
Magnificat primi toni a 4. Even verses. CB lIb 7v -14.
Magnifice:t primi toni a 4. Odd verses. CB IIb 1v-7.
Magnificat quarti toni a 4. Even verses. CB IIb 79 v - 85 .
Magnificat quarti toni a 4. Odd verses. CB lIb 73v -79.
Magnificat quinti toni a 4. Even verses. CB IIb 98 v -105.
Magnificat quinti toni a 4. Odd verses. CB IIb 92v -98.
Magnificat secundi toni a 4. Even verses. CB IIb 39 v -46.
Magnificat secundi toni a 4. Odd verses. CB IIb 33v -39.
Magnificat septimi toni a 4. Even verses. CB lIb 145 v -153.
Magnificat septimi toni a 4. Odd verses. CB IIb 139v -145.
Magnifica-t;. sexti toni a 4. Even verses. CB IIb 119v -126.
Magnificat sexti toni a 4. Odd verses. CB lIb 113v -ll9.
Ma.gnificat tertii toni a 4. Even verses. CB IIb 59v -66.
Magnificat tertii toni a 4. Odd verses. CB lIb
53 v -59.
Missa sobre las Vozes (ut re mi fa sol 1a), a 4. CB I 17v -31. Concords
with 'the Hexachord published in MME, XXIV, 36-57, minus the canonic
Agnus Dei.
Miasa 1i 4 vozes (fa re ut fa sol la). Concords with ~, XXIV, 18-35,
except that the Guatemala. version lacks Agnus II and is throughout
pi tched a fourth higher. Neither this nor the preceding Mass was
published before 1964.
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169v -180.
Kyrie I begins:
E:mmple 63
Serra, [Luis]
Missa a 4 De 5. 0 Tono punta bajo. CB I l09v -119. In this B flat Major
Mass the same head motive begins every major movement. However, the
answer does not anticipate the ending of the subj ect. The Kyrie
starts thus:
EX~le
64
Torres, Jose de
Missa -& 4. CB I 71v -85. This Dorian Mass ad omnem tontUll ends with an
Agnus a 8, each voice singing a different psalm tone (Bassus 2 sings
both Tone VIII and the peregrinus). Reminiscent of Pedro Vaz Rego's
Missa ad omnem tonum copied in a 40-folio choirbook dated 1731 at
l!Jvora, Portugal.
Salve Regina a 4, continuo accompaniment. CB III 23 v -24.
Victoria, Tomas Luis de
Missa Ave maris stella, a 4. CB I 95 v -l09. Polytextuality of original
edition suppressed.
Missa 0 quam gloriosum, a 4. CB I 85 v -95.
o vas omnes, a 4. CB III 40v -4l.
Vere languores, a 4. CB III 19v .20.
v
According to the Index on the flyleaf of CB III the Salve at 24 .25
is by Romero (no first name). The barlined tiple incipit reads:
Example 65
Alphabetized by composer, the fine array of loose sheet music viewed at
the Seminario Conciliar in 1967, but returned to the Archi'lfo Arzobispal in 1969,
included the following items. A mere date after a composer's name indicates
the date of a villancico not examined with sufficient care to determine the number
of parts or the festival for which it was composed.
Aguilera, Antonio de
1733.
72
l.e falta ~l Alto; puede ser que assi sea l.a com;posision." Fel.ipe
Pedrell'S Catalech de l.a Bibl.ioteca Musical. de 18. Diputacio de
Barcelona (19(9), II, 18, l.ists a Christmas villancico ! .2. by this
same composer, Desl'erta.d, dormidos pastores, but without a date.
Severe.l other conwosers in the same manuscript collection [70l.] belong
to the reigns of Charles II or Philip V: Miguel de Ambiel.a, Pedro de
Ardanaz, Jose Carcol.er, Sebastian DurOn, Francisco Valls.
Anonymous
AlbrisilUJ que vn abiso a llegado A 7. Ti Ti ATe, Te Te Bajo.
Al campo sale pizarro el mapa de la hennosura., el. temor de las esferas
y el'matante de las furias. Xacara de Nauidad, a duo y a 6. A B,
Ti A Te B, harpa. Vigorous C3=3/4. 'G minor (one flat). 13 strophes
(twelfth mentions lila veldad casi desnud.a en pobres patkles"), 2
estribil1os.
Amante Mariposa. Tonada i: 3 Con los Ynstrumentos en forma de 2. Coros,
See Coradini, Francisco: Dulze pa~l de Amor.
Aqui venimo ~ Belen 10 neglito can Malia. Negro. Duo de Nauidad. 2 tiples~
Ac. C Major, 6/8. Frequent refrain words l.ike "gan, gan," la, le, le.'
type this as another Black Christmas carol in the usual manner.
Ay ay pastores tengame q me caigo. Portugues de Nauidad A 4, a~o de
700 en Guatta Ti Ti ATe, Ac. Only the Tenor soloist in the four
c~laa imitates the Portuguese language.
How poorly Portuguese was
known by the Guatemala poet can be judged from this transcript (music,
transcribable in the usual 6/8, JAcks any detectable Portuguese traits):
1. Campus eran de Vriba, campus dond.e se enxendran, espigas como el
Oru, ra9imus como pelrras. 2. CampUs de Belen digu, donde de nuoite
buena, socedio 10 que endiyas, del mundo socediera. 3. Filu de Media
nuoite, Mais gerrada e mais negra, que bolsa de paisanu, s i vn real
de a ochu pesca. 4. A dar mil carcaxadas, el aurora es copienza,
Ya tantu fue el contentu q el dia. esclareziera.
On one part a bruised singer recorded his opinion of Quiroz:
"Manuel de Quiros Tiple Arrogante. "
De sus galas aprendan diuina madre. Xacara y estriuo A 6. de sta Teresa
de Jesus. Por D lasol!.!!!l:. Accon:q>animent written in tenor clef is
G minor mus ic (without signature flats, but with all the necessary
accidentals). Tiple 2 constantly hovers around gl. Rubric on cover
means that this jacara was performed a fourth lower than notated. Dates
(of performance) on cover: 1682, 1686, 1690.
El maximo Atlante. Aria Ytaliana Can Violines. To accommodate the vocalist,
both violinists were requested sometime after the first performance to
transpose their parts from written A down to sounding F Major:
"Transport. 0 ~. puntos vajoa. II Dates on cover: 1744, 1747, 1748
(Corpus). The instrumental introduction was an afterthought (copied
at bottom of violin parts). Soloist duplicated by first violin starts
thus:
E~le
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En este candido a.lbergue. "J. M. J'." on the cover abbreviates 'the Holy
Family, not the composer I s name.
Flaciquia donde vamos. Negro 1740 del 30 Noct no A 4.
He. sino l.a pl:l.ma. mill.. Negrilla de Nauidad a duo y a 6. Ti A B, A Te B,
Baxo para e1 harpa a duo y a 6. On cover: "Para be.ylar de puntiya if
de talon. Par G solreut ~." Since as notated this is a C Major
Negril1.a, with extremely high tessiture, "Par G solreut ut.mi. If means
that it was performed a fourth lower than notated. The'teit mentions
II 1.
e son de guinea, de ma.ndiga, de melinde, de canaria de angola y
santo tome. II After this string of dances is mentioned, one black
promises to perform them all, whereupon another shouts II excellent
idea! II ("palese me ben").
Helrnana fl.ancica. Negritos. 1770.
Hermosa blanca flor. Aria Con Violines trobada ~ la Concepn de nr:a Senora.
Secular original began:
l1'xample 67
Jessuchristo flaciquia dond.e vamos. Villanco A 40 Can ViolS ala Natiui d
Ti Ti ATe, Ac. Although not so called, this is a Negro possibly by
Castellanos, or if not by him, at least of his epoch. The voices disport themselves in l6th- or 32nd-note motion above a persistent bass
that starts thus:
Exa.m:ple 68
(2 1+ more measures of estribillo)
74
Example 69
Coplas 3 and 4 read: Mi siola de mi oxo siola do'&. malia qui cala tene
di treya A la rosa palesilas. / / Aya mi terra su plimo como pluna la
bima de vna nina que palese, vnas rosa vi castiya.
Miren que Flor a 3. Printed. Cover missing.
Musico PaxarUlo. Duo a Nra Se~ora. Note on cover reveals the loan of
this duo to Chiapas: rue 'B. Chiquiri Chiapa.
o admirable Adonai 0 supremo Sabaoth. Vi1.lancico al SSmo ~ Seia Vozes
con Violines.
Ola. mortales. Quatro con Violines. For December 8. On cover: rue ~
Chiquiri ehiapa. Duplicate copy shows reviva.l in 1800.
o venturoso pet Ten-staff score, A Major (3 sharps). From top to bottom
staves are assigned thus: Violins 1 & 2, Oboe, 2 Clarinets, SATB,
String Bass, "Fabot ll [= Bassoon]. J. M. J. on the cover stands for
Holy Family.
POl" dios tu reja diuina. ~o de 1682. A B, Ti A Te B, Baxo para el harpa.
Pros igamos pues todos. A duo y a L~ de San Miguel Archangel. Baxo para
el harpa POl" C solfaut. ut.mi. (written in tenor clef) ranges .from
F-f (one flat signatu.:re). Probably played a fourth lower than .notated.
Q.ue se anega en cari11os. Duo Al Santiss!mo Sacto. Ti Ti, ACompata.miento
del harpa. Note on cover in alien ha.nd reads: "Cotejese este con el
q compuso de la misma letl'a Dn Pedro Ardanaz, de Alto y Tiple."
Rico Pedro. Aria trobade. a S.r S.n Pedro. Con Violines, Obs , Trompas.
Only rarely does anything in the Guatemala archive show a dynamics
marking like the va cres cendo found in this item.
Salve, a 8. Apparently mid-seventeenth century. Ti A Te B, Ti A Te B.
On cover: USe ha de trasladar, pa hazerle Bajo Cont o II Tiple 10,
Choro 1 0 , starts thus (original notation):
Example 70
3
Ends with a section in 02
Sanctus Deus 1i 3. Ti Ti A Bajete, 2 violins, Ac. D minor (no signature),
3/4. Brilliant violin excursions. Possible date: 1790.
Stabat Mater ~ 4 can Diferencia tambien a 4. Ti Ti ATe, AcomP to para el
Bajon. The Latin opening section moves in block chords<t>~ and processes
at lethargic breve-semibreve gait in every bar. But the diferencia,
"Buelbe del fatal letargo, II picks up speed (lively C3).
Turu, turu 10 nenglito. Jugu.ete A Duo A Navide.d. 2 tiples, Ac. F Major.
Text says the singers have hourneyed from the Congo to serenade the
Child, accompanied by sonaja, chinchi, natambo. They dance to the beat
of adufe and cascabe. ApprOXimate date: 1730.
Vn Relox. ViUcO a 4 al ss.mo "Se Ie mudo, termino, y se Ie hiso Retornellos
de Violines, y se Ie Canto en la Cathedral al10 de 1788" (note on cover).
Ti Ti ATe, Ac. Torres's style.
Vaya de xacara nueva. pu.es solo las nuebas gustan y sieng;>re las Biejas
cansan. Xacara ~ 3 y a una voz. Can violines Del Nacimiento del
Se~or. 3 tiples, 2 violins, Ac. G minor (one flat), 3/8. Continuo
of this jaunty.!.. 1760 jacara (Castellanos's style) reads thus:
>
75
Example 71
Venga mui nora vuena infante vello oiga nuestras folia.s. De Nauidad, Solos,
Duo, Y A 6. Folias. Alto Solo, Ti Te A, Guion general harpa. The
"foliall bass is reserved for the cap1as. In the estribillo the Guion
general harpa reads thus:
Example 72
The first of the twelve coplas, all matched with the same Itfolia"-bass,
reads as follows:
Example 73
1727.
Acconwaniment
Example 74
Astorga (1680~~. 1757) published twelve solo cantatas at Lisbon in
emma
76
Way.
Ya se yo Dulze Duerto.
Duo
con Vl01ines.
Asturiano, JosEq>h
Con el dedo en 14 Voca la fe me abisa. Tonada, A nra Sel:Yora de la Concep. n
En Madrid.
En l.a imprenta de Musica. Soprano solo in A minor.
Scra-tched-out note at the bottom of the cover rea.ds: Juan Manuel
tiene la vos de este solo. Pedrell' s Cate-lech (1909), II, 46 and 54,
itemized :four other Bolos or duos by this early eighteenth-century
maestro., and classes him (II, 55) among the "mes eminents mestres
dele segles XVII y XVIII."
Avellano, Diego ("Mro nn ll )
nlccionario de J.a MUsica Labor, I, 141, mentions an eighteenth-century
AveJ.J..ano whose works in the Cordova. Cathedral were copied in 1777.
Bach, "nn Joseph"
Celebren loa Morta1es.
Aria:
Example
Cantada al Santissimo.
75
Cassada, Diego de
77
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F._EF
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1782, 1785 (three), 1786 (three), 1787 (four), 1788 (five), 1789 (six),
1790 (five), 1791 (two), 1794, 1796.
22 more tied in a bundle not examined.
Ciampi, Francesco
A1 agua marineros. Aria Sola, con Vio1ines. En Yta1iano comienza: Spera
vicino i1 Lido = y Trobada a1 Sor Sn Pedro Pedro Apostol, comieza:
Al agua. Bb (one-flat signature), 3/8. Acompa~amto starts thus:
Example 78
Born at Massa ca. 1695, Francesco Ciampi (not to be confused with Vincenzo
Legrenzio Ciampi [1719-1762]) wrote five operas produced between 1717
and 1735.
Col1, Joseph
Venid Paranimphos. Quatro a1 Santissimo Con Vio1ines y Trompas. On cover:
Y Cople. POl' Quiros. Performed 1755, l783. Two other Col1: items in
archive.
Conforto, Nicola ("Sig. lI )
Oy es e1 dia en que la gloria.
Solo voice starts thus:
~.
Example 79
Born at Naples in 1718, Conforto reached Spain in 1755 and probably
died there after 1788. Commiss ioned by Farine11i for Fernando VI's
birthday in 1752, Siroe was Conforto's second opera written for the
Spanish court.
Contreras, "M!'0ll
Cambiad e1 trizte. Quatro, a la, Asel'lc1on. Tenor Principal, Ti ATe,
2 violins, Ac. Aria, marked Grave, is preceded by a violinaccompanied recitative.
Mariposa Volad. Corpus. Villancico a 4. Four more vi1lancicos, two of
them performed in 1760 and 1783, the o-ther pair undated. Agust:!n
Contreras served as C6rdova Cathedral chapelmaster from 1706 to 1751,
according to DML, I, 575.
Coradini, Francisco
Ad fontem amoris. Cantada Con Violines a Nra Sa en tetra Latina.
One of the rare cantat.a,s with La-tin text. Born in Naples ~. 1700,
he abandoned his birthplace shortly after initial operatic triumphs
there in 1725, in order to settle in Spain. Chapelmaster of the
Viceroy of Valencia in 1728, he came to Madrid in the 1730's and
during Fernando VI's reign composed voluminously for theater, church,
and royal functions. After 1750 trace of him in Spain is lost.
Dulze palral de Amor. Cantada Al Santmo 1730 Para Dn Andres Moreno.
On dorse of the parts, Amante Mariposa, initialed "J. M. J.," Tonada
a 3 Con los Ynstrumentos en format de 2. Coros, copied in score
(10 staves. 1 & 2: Flautas y Violines; 3-5: Primero Coro; 6: Instru-
80
Corchado, Juan
Correa,
!!!l. Manuel
~
Jesus y
(ft Maestro t\ )
vrau.a.tas.
qu.e~as de
1. Por mas
81
Dur6n, Sebastian
Ti Ti A Te, Arpa.
Atended sonoras aves mis ecos suaveSt Tonada a1 SSmo Sacramto Solo &
Acompto al Solo. A minor, C3 (astra), C (coplas). "Copiado este a'Mo
de 1704 en 6 de Junio."
Ayresil10s suaveSt Solo de Navidad. Harp accompaniment. Q,uiros I s name
HLi .
I'
82
Duruelo, Francisco
Vasta vasta pensamiento deten las alas. SSmo. Ti Ti ATe, Ac. Pedrell's
Catalech (1909), II, 28 and 50 lists villancicos a 4 and a 8 by this
early eighteenth-century composer.
Escalada, Francisco
Lauda Sion A 8. Violins 1 & 2, Violon. Another copy at Montserrat,
according to DML, I 830. Escalada, maestro of the Royal Chapel at
Madrid in 1672, left worka preserved also at Alcala de Henares, La
Seo at Saragossa, the Madrid Bib1ioteca Nacional (M. 3881/17 and 18,
see Oata1o,0 Musical, I, 284) and at Barcelona (Ped.rel1's Cata1ech,
II, 26, 55
Espinosa, Nicolas
Vi1lansiquito de negro Can 3 Violines y trompas sinco vozes. a~o de [17J78.
Esp:!ritu_
Santo,.
fray Manuel de
A.
- Lauda Ierusa1em. Psalmo Solo, y a
Vozes, este a'Mo de 1740, que son
Primer cora por Manuel Joseph de
Solo vn Tiple y al 20 Coro se le
I'lJ
I
I
t
83
= Giacomo
Example 81
Franco, Hernando
Credidi. 6 Tono. a 4. First item in a small oblong miscellany of psalms,
motets, and magnificats.
Example 82
After verse 5 ('Ego servua) comes the Gloria. The same antholog continues with another Credidi (Tone V) and Beatus vir A 4 (Tone V), both
unascribed.
Frias, Francisco de
.2
84
Example 83
Pues en un Portal. Villa.nco al Ni~o Dios a quatro y a Solo Con Violines
Flautas y Clarines.
Q,uien no busca la Estrella. Aria con Violinea con letra a nra Se~ora.
Con Clarines pospuestos.
Galvez (spelled "galbes")
Lauds. Hierusalem. A 4. 20 tono. Copied in same miscellany with Franco's I
Credidi and Morales I B Magnificat Q,uarti toni.
I
Garda, Joachim
Two items dated 1735, one repeated "Reyes 57. II
Garda, [Juan]
Para festejar la noche y para alegrar a1 ni~o Don Q,uijote de la mancha oi
al porta~ ha veniOO. A 4. Ti A Te B, Acomp. to Structure of this highly!
exceptional Christmas villancico narrating a visit of Don Q,uixote and
Sancho Panza to the manger: Introduction (2 coplas sung by Tenor Solo),
Estribillo I (a 4), Estribillo II (Tenor Solo), 4 more copas (Tenor
Solo first half of each copla, replied to by Tiple Solo second half).
C Major. C3, C3 C, C3, C C3. Don Q.uixote announces the purpose of
his arrival in Bethlehem -- to punish all the proud who have forced
the Holy Family out into the cold.
85
1019).
[17J83, 94.
GOmez,
Jos~
Lorenzo
Porq. los NegroB. VUl0 de Navidd a 5 Con Violines, Oboes, y Clarines.
A'Mo de 89. Note on cover: "no se a. cantado" but "9011 in upper left
belies the note. Plan: Intron-Esto (D MBjor)-Coplas (G). Typical
lively IINegro" music. Estribillo starts thus: Ola que Dacio. 10 Reye.
Ola vamo a veye. Ola Jesun Clisa nacido en angola andar 'a:' Belen. que
N
zomo. ta.mben cantan 10 Neglico 10 villancico. cucu a 180 gala del nino
zesu. tocala caja y la zonaja. vamo aya.. Paraphrase: "Look who is
born, the King. Let I s go see him. Look at Jesus Christ, born in
.
Angola. At Bethlehem. we who are Negroes will sing at the festival of
the Christ Child this merry song, cucu. We will play the drum. and
shake the rattle, as we go along. He was 'White but the sun has burned
him black." Other 'WOrks by Jose Lorenzo Gomez were perf'ormed in 1788
and 1789.
ELI!
_IIH.'111----""-------"-"----"(
f
86
[Guti~rrez
I
!
/
l.
87
Jeruse.lem, Ignacio
Despierta Bato. Villancico ~ 3. Con Violines. Al Nacimiento de N:ro
Redem,ptor. [17]57. Tiple, Contralto, Tenor, Acompanamto (Son 2.
Papelee"). After a "Recitado en dialogo" between the three voices,
comes a d.a capo aria. The charm and gracefulness explains Jerusalem's
immediate and widespread New World popularity.
1. Ea feliz vajel. 2. Nave dichosa. Duo, al Nacimiento de Nro Redemptor.
La Aria POl' Ml'0 D. Ignacio Jerusalem y el Recitado POl' Quiros. Todo
con Violines.
o golpe Suave. Aria con Violines. Ascension. Revised text starts "0 bien
amable. "
Que admirais mortales . Quatro con violines, a la Ascencion del Se~or.
Dates on cover: 1751, 53, 58, 60, 63.
Rompa alegre el cielo. Aria~Voz Sola con Violines.
Triumphe Maria. Area Con Oboes. Note on cover: este con mejor Letra que
dize - sea Maria. The other version "with better text" and a new
accompaniment shows signs of excessive use. Called a Tonada., it includes parts for two violins, plus two other unspecified treble-clef
ina truments.
Vn Portal arruinado repara el Cielo. Caplas 1i" 4 i ~ Solo can VVS y Baxo.
The initial Rez do starts: Pues esta para grasias mi NiWo amado. Unusual
rhythmic variety distinguishes this expressive 3/4 Christmas tribute.
In January 1966 the ~temaJ.a collection included another dozen
items by Jerusalem not included in our above list.
Julian, Pedro
Bate la~l Plumas. Ecoe a sinco vosses. Villanaico Ala Nauid.ad. A1fo 1717.
cathedl . Ti Ti Ti ATe, AComptO. Tiple 1 starts on high c 2 and remaina
in that region. F Major piece subtitled "Ecos" in all parts.
Lana [Lanas]
Yo q.e soy del mont. e blason sagrado. Cant. a al SSmo Con Viol. s Plan:
Rez.o-Rez.o-Aria (Ep)-Rez.O-Aria CD Major). If this be Dallo yLana
(Lana 1731 is the ascription on the cover), it reveals an unaccustomed
face. 'nlis is eighteenth-century music, with abundant 32nd-notes required
of Violin 1 & 2.
Orlen arlen ya los triumphales.Villancico ~ 4. Con Violines. A sr Sn
Pedro Apostol. [17]81 on cover.
Leo, Leonardo
Combite Peregrino. Duo a Santissimo Can Violines Viola y Tromp. s Pospuestas.
Son 9. Papeles. Like the Guatemala repertory by other Italian operatists, everything by Leo (1694-1744) must be considered a. contrafactum.
Baja, only part found, starts thus:
Example
86
De Dios el afecto. Aria 1i:" Voz Sola, con Violines y Viola A el Santissimo
Sacramento. This is a siciliano-type de. capo piece, without the
usual introductory recitative
..tii #M$U.!$;
88
ExBmple 87
o Pedro Peregrina. Motete Duo a S.r S.n Pedro Apostol can Violines, y
Viola. Y Trompas. Alternate text "al ssmo ": Combite peregrino. This
frequently used "motete" seems to be adapted from a Latin original,
Dum surgit. Tiple incipit:
E~le
88
'8' Jesus,
o
Example 89 .
Violins duplicate voice part major third lower. Aparently the aria was
sung in F, not A Major.
Ya te proclatnan los cielos. Solo, con Instrum.entos E Maj or is the key
of the AcomptO. Strings (violins 1 & 2, viola) are in C (one-sharp
signature, but F is constantly naturalized). After [17J89, copyist
writes: "sta Rosa."
F Major.
Tiples 1 & 2,
iii'
89
Violin 1 & 2, Viola, Ac. B17 MaJor (one-flat signature). One of the
few Guatemala. items with frequent 32nd-notes, this is a contrafactum
of something by the renowned opera buffa composer (1698-ca. ~ 765 ).
Madre de Dios, fray Felipe [=: Phe1ipe J de la
A e1 Conbite senores A 8. Corpus 1747. Concerning this Portuguese
Barefoot Mercedarian who quit the court of Afonso VI (where he was
"mes tre d.a mus ica d.a Real Camara ") to direct the rous ic in the Seville
house of his order, see Ernesto Vieira, Diccionario Biographic'o, II,
57. Albert Geiger, "Spezielles ll.ber Form und Inha1t d.er spanischen
MUnchener Kodizes," Ze:lld1rift fUr Musikwissenschaft, VI/4-5 (Jan. -Feb.,
1924), pp. 243, 263, includes excerpts from the Christmas villancico
Va1em1tMo. dos meos olhos a 4 (Munic MS 141), Recozijos a1egrias a 8
(142); other vi~ncicos it q and a 8 in 140, 144, and 147. See also
ZfM, V!9-10 (June-July, 1923), pp. 485-505.
Alma"'""SI tu quieres uida. Six coplas precede estribill0. 2 tip1!S, Ac.
Virtuoso vocalism required in runs spa.nning an eleventh (o-f). Madre
de Dios consistently reveals himself as one of the most demanding, and
at the same time, skilful composers in the Guatemala archive.
= Al mirs.r e1evado. Vi~ncico de Tres Tiples a Santiago, l:'a.tron desta
Ciudad. Dates on cover: 1738, 1744, 1761. Note also says: "Tiene su
primers. Letra a1 SSt mo que Comienza: Corderito de el alma." Brought
over from Spain by one of his fellow Mercedarians this vil1ancico
proved popular enough to warrant adap-tation to a new text honoring
Guatemala t s historic patron, St. James.
Aunque sube ~ los cie10s mi amante, a 4. Para la Ascension. 4 tip1es,
Guion. A minor. Duplicates here of Tiple 1 and of the Guion a 4, 1718.
Antoniya, Flasigp.1y'a, Gazipa. Negro de Navidad a Cinco vozes. Jottings
on cover: "se canto este a"Xo de 1740. 744 en S. franco." Tiples 1 & 2,
Altos 1 & 2, Tenor Bajete, ACompto.
Ay querido amante. Duo.
Cantad llorando este dia. A 1a Ascencion. Ti Ti ATe, Ac. 1744, 46, 49, 55.
Composer labeled "~ W O Fr Phelipe de la. Me de Dios."
Lamentacion sola, en la fer. 4. lod. Manum suam missit.
L1egate aprisa. Duo a el ssmo Sacramto.
Naveri~.
Humana a 4.
Que prodigios son estos. Duo. 1740. Pentecost.
Que se aniega en 1a orilla. 1728.
Regina letare. Motete ~ Quatro. Ti Ti A Te, Guion. Long runs of a dozen
or more notes on second syllable of "~etare. II
Venid congoxas venid. Villansico
duo y 6010[8] de la Ascension del
Selll'or. Ti A, Ac. Another set of parts, the accompaniment of which
bears several dates of performance on the cover: 1738, 1746, 1754.
Six other vi~ncicos, performances of Which are dated on the accompaniment covers as: 1740, 1741, 1743, 1745, 1750, and 1750; plus one undated vi~ncico a 8.
Main, Rica.rdo de la
11
Manna, Genaro
[I
u
11
sta Rosa.
I
i
1'1
90
Mar!n
Apa~ib1e dolor.
~rtines,
Antonio
Tota pulchra a 4 y a 8. Con vio1ines, oboes y trompas. Ti Ti ATe,
Ti A Te B, Acompto. Possibly concordant with a work of the same title
at Montserrat. See Diccionario de 1a mUsica Labor, II, 1484.
Example 90
Mota, liMO"
N
N
Me.ytines de la Natiuidad. de nra
senora.
Duo y a
3.
Ana de 1712.
[Tiple], Alto a
91
resuenen.
bLL#u ...
92
1IM1"011
1770.
Oliver, Juan de
= A dela infielarria. Villanzico a 1a Sta Justa y Rufina. Ti Ti Ten,
ACompto a 3. Mensuration in Clave y Arpa part changes from <p ~ to C3
in midcourse.
Venid y Vereys. Cantada Sola al Santissimo Sacramento. Para San Leandro.
1730. Plan: Introduction-Recitative-da capo AriaMRecitative-Grave.
Principal movements in G minor.
Padilla, Juan de, ~ Guti~rrez de Padilla, Juan de
Pat~o, Carlos
Amor mirad 10 que. Villansico ~ 3 vozes de Naud 2 tiples and textless
baxo. G minor (one-flat signature), triple meter. After each copla
comes a partial repeat of the estr1billo. Tiple 1 ranges from d-fl
En las Espheras reluce. Villa.ncico a. 3 Vozes. Por el Mf'o Carlos Pat1~0
Mro de 1a Capilla. R.l de S. M. d en Madrid. Tiene Letra para Navidad.
"T1ple 1 0 que 10 podra. cantar, vn Alto, 0 vn Tenor, It Tiple 2, "Alto
que sirve de Tenor," Acompto. Ending-chord: G.
Magnificat Batalla., ~ Ocho . Odd verses. F Major. Note on Acomp. to
ContinUO reads: Se canto este iKo de [17J60. Visp.as de Corpus.
Y se le quito de Susc5'it Israel, y sigmo el Gloria Patri como se
puede reconocer por la letra en loa Ba.xetes.
Style of this military Magnificat can be surmised from Bajon 1ncipit:
Example 91
'!he usual "battle piece" repeated notes pepper the hearer in the rt-,3
section.
~2
Son Asa'Kerias. Tres al Santiss1mo. liSe Canto con musica nueva a'8o de
[17J87. ;:: 88. It on cover. However, not new music but rather new text
honoring St, Anne (Son de Anna) seems to be involved. C Maj or, typical
!.. 1650 ternary mus io. Ink extremely faded; copies show every sign
of long and hard usage.
Pellegeros t Manuel Bylvestre
A S a Rosa. Changed for an Pedro and Profession of Ntul [17] 70, 83, 9l~
De Anna. Soberana. Tonada a 3. A Major, 3/8. 2 violins, 2 flutes, 2 trampas :::
horns.
93
Oy de Pedro las ~r. s Villancico a Solo, Y' a tres vozes, con viol. s trompas,
y bajo. A S. s!1 Pedro Apostol. ~o de [17J70. Another text (1787)
substituted honoring St. Rose of Lin'Ja. Ti Ti A, 2 violins, 2 tron:q;>8.S :=
horns, Ae.
Trea al SSma Con Violines Oboes Trampas. Another item performed 1770.
Perez, Davide
Ay 'i. la vide. me lleva. Aria con Violines ~ la Ascension. 1768. Contra.factum. of the aria "Reste. yn pace ~ gli astri amici" from Perez's
opera Zenobia.
.
Bello Obj eto. Aria Con Violines Trobada. A la Concepn de nra Sra. Contrafactum.. Original aria text began: Ca.ro Padre a me non dei (Ezio).
Recitado preceding Aria atarts: Suenen las Trompas con grana.i"Iiielodia.
Gozar consiga el alma.. A la Concepcion de nra ara Con Violines l' Viola.
Solo treble, violins 1 & 2, baas, basao continuo.
Non ai cor per un intpresa. Bp, 3/8, Ma1to a11. Excerpted from the
Lisbon opera. Ipermestra.
01' las glorias cantan. Aria al SSma y 1;:' N. a Se~ora Con Violines, Oboes, l'
Trom,pas. [17]65. 98. on cover. Parts include viola; trompas copied
in bass clef. Da capo Aria starts:
Example 92
Example 93
Pedro es piedra. Aria Trobada a S.r S. n Pedro Con Violines, Flautas, l'
Trompas. The ree itati ve preceding the aria starts: En Pedro levanto.
The original text of the Aria started: Super bette scintillate (from
Perez's oppera buffa La Boone. Fig1iuola.), and of the recitative: Che
risoluo.
Que bella q se mira. Aria Ytaliana Trobada ~ la Concep. n de nra Sra
Contrafactum of: 0 almen qua10rsi perde, from Zenobia. "s.r Navarro,"
"thos e name appears on the cover, rIJAY have been the adapter.
Vendote Pura. Aria con Violines trobada "a la Concepn de rflfa SeWora. Con
Violines, Y' Baxo. E ~~jor, A1lo Grazioso. Original text began:
Piu no 8i trouano.
Pergolesi, Giovanni Battista
Dichosa feliz. Aria con Violines pa Ascencion. Soprano, 2 violins, basso
continuo. In.C minor, 2/4, the aria starts:
Example 94
Si mi pecho te adora. Aria Con Violines. 2 copies of solo voice part.
In more recent copy, text has been changed to read (first entry)
Example 95
&
94
pu"
("Sigrll )
Pedro quanto as dexado. Aria sola, Con Vio1ines, y Trampas Al Sor sn Pedro
Apostol. According to Eitner, Quel1en-Lexicon, VII, 466, the two pu,
brothers made their way from Spain to Paris in 1752 and to stuttgart
soon thereafter. The younger died at Stuttgart in 1761, but the elder
was still active there in 1763. One brother Italianized his first
name, Giuseppe.
QuebedoQ:~~~~~eal
Quintero, Juan
A donds vas. Villansico A quatro al ssmo. Ti Ti ATe, Ac. Note on cover
of the oldest of the three copies: "Aqui esta Original y tras14do
Vi11, co de Espan'a. muy bueno. II
Quiros
95
Example 96
Digo, a Siola Neg1a.
Vagelillo que al viento. Duo con Violines A 1a"Ascencion d..e Nro Setr'or.
Tiple, A1to, AComptO. Note on cover says: fue
Espa'ffa., el ~o de
1761, q 10 llevo Silverio Cabrejo." Evidently Cabrejo brought the
music back, because a still later date on the present cover reads 1775.
Pues q de Fascuas estamos. Vex.amen al Demon pa el Nacimto de NO Sor. Note
on cover "Vino 'a' Voz sola de Lima, y 10 voluio "8:' Cinco Manuel Joseph
de Quiros, en Gua:ttla A'l1o de 45. It
Venga turo Flanciquillo Negro de Navidad, ~ 5. Vozes. 1746.
Quatro Jocoso. 1758. An extremely sizab1e repertory by Quiroz in the
archive remains for cataloguing.
Rabassa [= Rabasa, Rabaza], Pedro
Bendito sea el Se~or. Q,uatro con Violines A1 SSmo Sacramento. More recent
set of parts bears this note on the accompaniment cover: "hora de la
Ascenon arlo de 1770. 1803." Older copy: "tiene caple. e. sn Ju Bapta
Puede servir para el Nacimiento de N. ro s. or Jesu Christo." After
.5
96
,
t
Ram!rez, Miguel
Re~s,
Reyes
=Relles,
Mat!as
Ripa, Antonio
Que apacib1e canoro.
Clarin Ob1igado.
Riva, Miguel de la
A la ro, ro, roo "La Voz de D. n Mig. 1 de la Riva. y el acomp. to en Guatt,. a"
Figueroa's name on accompaniment.
Rivera
Q,uien Puebla de delicias las espheras. Villancico ~ 8. Second text added
later: Quien llena de harmonias las espheras, for Ascension. Ti A Te B,
Ti A Te B, Ac. Performed in 1746. Although lacking a first name,
t>Go Rivera is identified as chapelmaster of Valle de Antequera=Oaxaca.'
Roca, Jose[ph] de
Peregrinas fuentes. VillcO Al ssmo a 5 Con Violines y Trompas.
Propicias aqui el &nor. Cantada Sola al SSmo Con Vio1ines y Trompa.
Tuca Gaytero. Villancico Gallego de Nauidad. a 7. liEs de Dn. Ju. S. tiago
Bermudo Arcos a1lo de 1718." Ten more viliancicos by Roca enter the
archive, two of them performed in 1755 and 1800, res,gectively
Vaya de juego, vaya. Con Violines, y Trompas. Quat-ro, a Santa Rosa, de
Santa Maria. Ti Ti A Te. Alternate text: Jugando dados con e1 Ni~o.
Dates on cover: [17]59, 64, a~o 91.
Quien es esta Figura zagalez. Villanco a 6. Soy de Dn Juan Santiago
Vermudo Presbytero. Arcos a?f.o de 1716.
I
I
,
!
I
Roca, Matheo de la
A donde bas Altivo.
f
f'
!I
On cover: El Acomp.to
97
Villancico a 4.
1733.
Vi1lanco A Duo.
SSme.
98
Sanctus Deus Sanctus fortis Sanctus immortalis miserere nobis. Vos Sola,
y a. 3. Tiples 1 & 2, Alto, Acompto al Solo, y a 3. G Major, 3/4.
Plan: Solo-Responsion a 3 - 2. a Diferecia-Respn - 3.a Diferecia. Each
diferencia varies the ten-bar theme enunciated in the opening Solo.
This variation-set reveals Roms as a very able composer. Also, the
Latin text deserves note.
1761 Kalenda "en Guatemala," 1766 Aria a Duo, plus six other items: two
undated, one 1765, two 1784, one 1787.
Ruiz, Math!as ("wo")
Atencionatenc1on que importa. Vi11co ~ Ocho vozes Al SS. mo 1743. Also
other villancicos, undated. While maestro of Incarnation Convent in
Madrid, Ruiz published there in 1702 a St. Matthew Passion (turba parts).
Geiger pUblished in 1923 and 1924 excerpts from Ruiz's works in Munich
MSS 179-180; see Ze1tschri:f't fUr Musik:wissenscha:f't, V, 487, and VI,
249, 257. Ruiz's widely dispersed works are found also at Valladolid
Cathedral, Barcelona Biblioteca Central, and at Montserrat.
Ruiz, Sebastian
De las monta~as se juntan. Duo "'i la Concepcion. Ti Ti, Ac. 1lLa,. copla
era Sola, y le eche segunda. voz; Guatt. a 1726." (note on cover).
Estribillo begins: Vaya zagalej os.
Salas, [no first name]
Divino due~o hermoso. Cantada. al SSmo con Violines. Recitative followed
by de. capo Aria. AlSO, one other cantada by this same composer.
Salazar, [Antonio de]
Mi Dios si llorais. Villancico A duo De Nacim. to Four coplas precede
estribillo. Te A, Baxo.
Priniores amantes. Villansico al Santissimo S. to Tenor, Tiple, Baxo
acompanamto Cover ascribes this Duo to "Anttonio de Salasar Ragionero
de Seuilla." The musical style fits Antonio de Salazar, who after
serving Puebla as chapelma.ster occupied the same post at Mexico City.
Vengan Corriendo. Duo al Santissimo. A, Te, Acompto (baritone clef).~
The six coplas in F Major choose this old-fashioned mensuration: \.f~.
llDe Manuel Joseph de Quiros" on the cover tells who acquired it.
Salazar, [Diego] Joseph de
A la estrella q esmalta la esphera. Duo, a la Ascencion de Nro Se~or.
"Se 1e hecaron Vio1ines, eate a~o de 1763 = sin quitarle nada, ~ su
Acoltq)to mas q repetir, y aSladirle pausas ~ las Vozes. Tiene otro
Acompto sacadas y8. las repeticiones. II This note on the cover should
probably be attributed to Rafael Antonio Castellanos.
Ay mi Dios, y dulze due~o. Solo al Santiss1mo. Cover ascription: "wo Dn
D1ego Joseph de Salazar en Madrid -- Los 6. compo s v1timos de la Copla,
anadio Mal de Q,uiros porq acauara en e1 trS. [termino] 'q empieza, y
acaua el Estriuillo." Salazar's coplas end on A, but his estribillo
on D. Holding fast to the ideal of the single key suite, Manuel Quir6z
II
l
.
correct
ed the Madrid i
maestro by adding
six measures
to h~s cop1as.
These six do end on A, but not before Quir6z has strayed into F Major
'While coyly vacillating between A Major and minor.
Two more items.
99
que
Selgue, Raymundo
I
I
iIIII
100
Zumaya, Manuel de
Te y Sagau, Jayroe de la
A espacio amor, a espacio. Cantada ~ Solo [Soprano], al SS.mo Plan:
Preludio-Coplas-Recdo-Coplas with refrain (Diuino amor)-Recdo.Aria
andante (Si si mi amor). A Spaniard, Te y Sagau settled in Lisbon
Where he directed a music press from which were issued in 1721 his
Cantatas a solo al Nacimento (36 cantatas for soprano and continuo,
copies of both volumes in Biblioteca PUblica at Elvora). Ernesto Vieira,
Diccionario Biographico de Musicos Portuguezes (1900), II, 268, lists
his other published works, and locates eXisting copies. The Coimbra
University Library copy of Te y Saga'l's Cantata humana. A solo. No mas
amor en mi ;eecho. 4 ;eapeles (Lisbon: En la Imprenta de Musica en 1a
calle De los libreros), is catalogued under Misc. vol. 25, no. 539.
After four coplas comes a Rec itativo, then a da capo Aria (andante),
next another Recitativo, and last another da capo Aria (allegro).
Te y Sagau cooperated with Francisco Jose Coutinho (a composer in the
Guatemala archive), Andre da Costa, and Esi1eva'o Ribeiro Frances in
composing villancicos for a 1722 Lisbon festivity. Costa, Coutinho,
and Te y Sagau are all three in C6dice Pombalina 82 at the Lisbon
National Library.
Desde este suelo infausto. Villancico ~ la Ascension. Ti Ti ATe, Vn 1 &
2, Bajo. Note on cover: Se le formo Yntrodn de Violines a'Xo de 1769.
Su propria Letra es del Santissimo q dice Desde aquel hie10 ardiente. II
Indicios da de la cuna. Coplas Solas y a 3 A sta Rosa de sta Maria Con
Violines Pospuestos. Like the added violin parts, the text is of New
World origin. Added note on cover reads: "Los ~etorne110s de Violines,
en la Nueva Guath. a p.r Raphael [Castellanos] ano de 1788."
Los Astros que al reir e1 alva. Coplas Solas, y'2 3 Para Santo, 11' Santo
Confessor, 0 Martyr.
Nace el Rey prometido. Cantada a Duo Con Vio1ines De Navidad. 2 tiples,
2 violins, Ac. Plan: Recitado followed by da capo Aria in D minor:
Nacer oy mi due~o.
Example 101
Sus finezas amor eternisa. At top right, accompaniment cover: tarde de
Corpus de 1747. Y en sta teresa la tarde. Converted into Villancico
~ 3 Vozes con Violin. s a 1a Ascension de~ SeWor. I Vros timbres S~or
&a. Pospuestos los Violines en Guathema~a por Raphael Antonio
Castellanos, a'Mo de 1768. Tiples 1 & 2, Tenor, Violins 1 & 2, Ac.
lilbE
*
101
""""""'::=---------,
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1
I
.
.
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I
102
=Triste
103
archive include also the following Il a l. Santiseimo ": Duo (sung 1734),
3 Quatros (the quatro sung in 1767 "con violines"), 3 Villancicos a 4
(the villancico beginning "Que planta" with violins and oboe), and another
Canta Can Viols. Among further festive pieces in the Guatemala archiva
three villancicos for December 8 deserve mention: the first a 4, the
others a 8 (one a 8 starts "Del gran templo").
Si has de ausentarle, despierta. Duo con Violines Al Transito de Nra
Se~ora. structure: Introdn (despacio)-Recitado-3 C~las-Recitado a
Duo-Estriuillo a Duo. Keys: G minor-C Maj or, A minor.
Vn portal. Re9itado, followed by Fuga (Pues q aguarda mi J?lanta), Aria
(Peque~o amor), and three copJ.as (Toma este corderillo). But cover
says: Cantada de Navidad Cielos Don Joseph de Tores (sic) en Madrid.
6. papeles. In the Fuga (F Maj or, common meter), the bass disports
itself in a perpetuum mobile. No conscientious imitation. For Torres,
and also for Zt~ya, imitative entries in a prescribed order do not
define the fuga. Quiroz I s name lightly inked on cover means either that
he acquired or that he performed this cantada..
Vn Relox que las horae a.a de vna Eternidad. Villancico a 4. Printed.
Cover miss ing.
Four other Torres items, performed in 1757, 1783, 1783, 1788, plus an undated Ascension v111ancico.
Torises (:= Torices), Alonso
Urruela y Arteaga, Lorenzo de ("Mtro Dn ll )
Vengan todas las flores. Villancico ~ 4 ~ Santa Rosa.
Vallados, Matheo
De los sinco se'Mores canto. A?!o de [1]706. Ti Ti B. Five A minor coplas
precede the estribillo. Vallados was the Oaxaca maestro responsible
for the villancicos sung there to poetry by Sor Juana Ines de la Cruz,
November 21, 1691.
Veana, Math!as [Juan] de
Ay que abismo de luzes. Duo Al Santissimo Sacramento. Ti Te, AComptO.
Numerous works by this mid-seventeenth-cerrtury maestro of the Madrid
Incarnation Convent itemized in DML, II, 2205-2206.
En la came. de la culpa doliente vn alma se queja: Vi11ansico al santisimo
a 5. Ti Ti ATe, ACorrrptO. Despite tl a 5 11 on the cover, this piece survives complete.
Oygan al modo de Sacris Solemni1s. Vn hinmo de versos agudos. A 8.
A?f.o de 1726. Ti Ti ATe, Ti A Te Ba:xo, Organo & Continuo. Before
the estribil10, Tenor of 20 Ch o intones first incise of Sacris solemniis,
<j) ~ meter, beginning on G. Thereafter the plainsong cantus firmus
seesa,m between voices.
Vaya de Xacara. Quatro a la Concepcion. Madrid: En la Inrprenta de Mvsica.
5. Papeles. N-um. 2. Ti Ti ATe, Ac. Quiroz acquired this printed cuatro.
In 1779 Castellanos added 3 violins and changed the signature from C3
to 3/4. The text starts thus: Go, valiant one, and seize the old serpent
-- not any deaf serpent, because the Devil must hear the news.
Vinci, [Leonardo]
A sombros prevenid [Recitado] followed by Divino portente [da capo].
,
r
104
Solo A Sn Joseph.
Major.
Soprano line
I
I
I
I
,!
!
105
Bp
3
I
f'
106
f
Guath. a a'rf.o de 1777. II Another note on cover reveals that this duo was
loaned to a town in Chiapas: If ~ ~ Chiquiri Chiapa.. If
Toque toque repique. Villano co '8:- 8. con Viol. s A1 Eucharist. co siiito.
11
IIS on 11.
Pape1es. [17J81 on cover; but only 7 parts remain: A Te B
0
of 2 Coro; Violins 1 & 2, Acomp. to C Major,
Copla.s a Duo.
4=.
II